RA:
Could you follow up on that? I'm well aware that it's highly unlikely you did things straight out of any one form or remembered it that way even if you did, but examples of altercations, techniques, from which forms, etc., would be fascinating.
Thanks,
student
Kata.
Moderator: Available
-
Evan Pantazi
- Posts: 1897
- Joined: Thu Sep 17, 1998 6:01 am
- Location: N. Andover, Ma. USA
- Contact:
Kata.
RA San,
What Kata's do you have experience with that surfaced in real situations and could you please let us know what sections you actually found yourself using.
I am also very interested as is Student San.
------------------
Evan Pantazi
users.erols.com/kyusho
What Kata's do you have experience with that surfaced in real situations and could you please let us know what sections you actually found yourself using.
I am also very interested as is Student San.
------------------
Evan Pantazi
users.erols.com/kyusho
Kata.
The Sosui****su kata names probably wouldn't be familiar to you, and my experience with karate kata is limited to the very basic. Two incidents come to mind right away. Let me describe those and see what names it triggers.
1) I was completely surprised. The subject appeared distressed, was sitting on a bench moaning and rocking. I was standing directly facing, in natural stance, within two feet. (Boo, Hiss! It gets worse) I had a clip board in my left hand that I was looking at and keys in my right. (Told you it got worse). The threat suddenly lunged with a head butt to my groin. Everything clicked. The clip board (left hand) swept into a down block, flowed under his chin and came back to guard as I pivoted to the right. The combination spun him through the air. I had absolutely no sensation of effort. He landed flat on his back on the bench. Iwas driving a reverse punch (with a six inch bronze key) into his throat when reality snapped back. No injury. So, left down block, arm rise, pivot right reverse punch.
2) Even more basic. The threat was kicking another inmate who was down. I saw it through a door and had to move fast. This was a holding cell in booking, so they were in street clothes. I stepped in, snatched his hood, pulled him out and spun him against the wall. But if there had been no threat and the action were performed in air, you would have seen my right hand returning to chamber, as if from a high lunge punch then sweeping up in an outside block as I pivoted to the right. Only difference was the fist held a handful of hood.
I feel a little self-conscious going into war stories. Especially when I set myself up as stupidly as the first example.
Rory
1) I was completely surprised. The subject appeared distressed, was sitting on a bench moaning and rocking. I was standing directly facing, in natural stance, within two feet. (Boo, Hiss! It gets worse) I had a clip board in my left hand that I was looking at and keys in my right. (Told you it got worse). The threat suddenly lunged with a head butt to my groin. Everything clicked. The clip board (left hand) swept into a down block, flowed under his chin and came back to guard as I pivoted to the right. The combination spun him through the air. I had absolutely no sensation of effort. He landed flat on his back on the bench. Iwas driving a reverse punch (with a six inch bronze key) into his throat when reality snapped back. No injury. So, left down block, arm rise, pivot right reverse punch.
2) Even more basic. The threat was kicking another inmate who was down. I saw it through a door and had to move fast. This was a holding cell in booking, so they were in street clothes. I stepped in, snatched his hood, pulled him out and spun him against the wall. But if there had been no threat and the action were performed in air, you would have seen my right hand returning to chamber, as if from a high lunge punch then sweeping up in an outside block as I pivoted to the right. Only difference was the fist held a handful of hood.
I feel a little self-conscious going into war stories. Especially when I set myself up as stupidly as the first example.
Rory
-
Bill Glasheen
- Posts: 17299
- Joined: Thu Mar 11, 1999 6:01 am
- Location: Richmond, VA --- Louisville, KY
Kata.
Enjoyable discussion here.
I think the problem many have with kata is not the kata per se, but how they are practiced and used. I personally believe that if they aren't useful, one should discard them and do what is.
When I first started karate (in another system), we would spend some time doing kata, and then we would practice sparring techniques, and then we would spar. Our sparring didn't look much like the kata. But then in retrospect my first instructor didn't understand how to use kata to teach us real self-defense. The more time I spent sparring and competing in tournaments, the more disillusioned I got with "what worked" in that venue. Every time I saw someone get a point for a flying backfist, I felt like I was wasting my time. And talk about "unnatural".... From a NHB standpoint, I felt the "rules" of sparring were ingraining a kind of movement that was going to get me in big trouble when it counted. This is why - to this day - I am a pain in the butt to my good friends on this web page who advocated rules like WKF. I fear it will make us look like all the other "McKarate", and further distance us from some of the clinching and throwing dynamics we need to weave into the fabric of our fighting spirit. But then I could be too harsh; like kata, this is just a piece of the big puzzle.
I actually intentionally quit sparring altogether for a while to erase some bad habits, and instead spent time boxing and doing aikido. I felt these partner "exercises" would bring in other skills needed to draw me back to where I wanted to be. They helped.
My big epiphany in kata came when I tried to teach aikido within my Uechi class. My students have always been well versed in ukemi, so whenever I had a classroom with a mat I would spend time doing this. I became amazed with time about two points: 1) it was so easy for me to learn and do many of these moves (with some practice), and 2) I was initially baffled at how badly others performed them. But then it occurred to me that the reason why others had so much trouble is because they didn't understand the body dynamics necessary to make them work. And the reason why I did was because my fundamentals were there. So I then developed a new format for teaching the techniques and integrating them into our core. It worked like this:
1) I would demonstrate the move several times in front of the class.
2) I would let students pair up and try the move.
3) I would select one or two pairs and have them perform the movement (badly) in front of the class.
4) I would ask the class to look towards their very first kata (sanchin) and explain what principles were being violated that made these practitioners unsuccessful.
5) I would then demonstrate how much easier the move was to do when they corrected these fundamentals.
Very often I would also ask the class if they knew of a move in any of their kata that resembled the application. Usually there was one.
Subsequent practice of the kata then brought on much more meaning.
As I have moved away from teaching large groups of bright college kids and into teaching suburbia in more intimate settings, the informal "analysis" practice has taken on other dimensions. Lately since the clubs where I teach have purchased some nice heavy bags and other objects to strike, I spend a good deal of time each class working on striking these toys. We also spend a lot more time hitting each other (kotekitae, ashikitae). And once again, the kata becomes the reference book by which I teach everyone how to move both against the hanging bag and with the partner that is striking/receiving. I also spend more time drilling sequences in the kata and less time actually doing the whole form. This sequence training, often mixed in with heavybag work and partner experimentation, becomes a wonderful exercise in creativity for me as an instructor.
So you see...perhaps with time I have learned the value of kata in my own way. And isn't it interesting that the "way" I have gravitated to sounds a lot like the way that others have described of the practitioners of old.
- Bill
I think the problem many have with kata is not the kata per se, but how they are practiced and used. I personally believe that if they aren't useful, one should discard them and do what is.
When I first started karate (in another system), we would spend some time doing kata, and then we would practice sparring techniques, and then we would spar. Our sparring didn't look much like the kata. But then in retrospect my first instructor didn't understand how to use kata to teach us real self-defense. The more time I spent sparring and competing in tournaments, the more disillusioned I got with "what worked" in that venue. Every time I saw someone get a point for a flying backfist, I felt like I was wasting my time. And talk about "unnatural".... From a NHB standpoint, I felt the "rules" of sparring were ingraining a kind of movement that was going to get me in big trouble when it counted. This is why - to this day - I am a pain in the butt to my good friends on this web page who advocated rules like WKF. I fear it will make us look like all the other "McKarate", and further distance us from some of the clinching and throwing dynamics we need to weave into the fabric of our fighting spirit. But then I could be too harsh; like kata, this is just a piece of the big puzzle.
I actually intentionally quit sparring altogether for a while to erase some bad habits, and instead spent time boxing and doing aikido. I felt these partner "exercises" would bring in other skills needed to draw me back to where I wanted to be. They helped.
My big epiphany in kata came when I tried to teach aikido within my Uechi class. My students have always been well versed in ukemi, so whenever I had a classroom with a mat I would spend time doing this. I became amazed with time about two points: 1) it was so easy for me to learn and do many of these moves (with some practice), and 2) I was initially baffled at how badly others performed them. But then it occurred to me that the reason why others had so much trouble is because they didn't understand the body dynamics necessary to make them work. And the reason why I did was because my fundamentals were there. So I then developed a new format for teaching the techniques and integrating them into our core. It worked like this:
1) I would demonstrate the move several times in front of the class.
2) I would let students pair up and try the move.
3) I would select one or two pairs and have them perform the movement (badly) in front of the class.
4) I would ask the class to look towards their very first kata (sanchin) and explain what principles were being violated that made these practitioners unsuccessful.
5) I would then demonstrate how much easier the move was to do when they corrected these fundamentals.
Very often I would also ask the class if they knew of a move in any of their kata that resembled the application. Usually there was one.
Subsequent practice of the kata then brought on much more meaning.
As I have moved away from teaching large groups of bright college kids and into teaching suburbia in more intimate settings, the informal "analysis" practice has taken on other dimensions. Lately since the clubs where I teach have purchased some nice heavy bags and other objects to strike, I spend a good deal of time each class working on striking these toys. We also spend a lot more time hitting each other (kotekitae, ashikitae). And once again, the kata becomes the reference book by which I teach everyone how to move both against the hanging bag and with the partner that is striking/receiving. I also spend more time drilling sequences in the kata and less time actually doing the whole form. This sequence training, often mixed in with heavybag work and partner experimentation, becomes a wonderful exercise in creativity for me as an instructor.
So you see...perhaps with time I have learned the value of kata in my own way. And isn't it interesting that the "way" I have gravitated to sounds a lot like the way that others have described of the practitioners of old.
- Bill
Kata.
Rory, you guppy you, glad to hear from you again. This is a pretty good forum if a little (stricly) Uechi and tuite...good folks tho.
When I talk about fights, I'm talking about physically handling angry and aggressive teens, not serious criminal attacks -- but when I have had to do this, over the last 20 yrs, it is over before I can really plan a move or choose a move or think at all so I believe it is my kata training theat has given me the movement patterns and "go for it flow" that I use. I can't hardly spar at all, too much in my head, unless I just wait for an attack and then do something.
Oh, and tho my training has been hard style karate, I've never hit a client or kicked him, I've always gone into a takedown (soft) and holddown, while "mentioning" in his ear that now would be a good time to stop so no-one - read: him! - will get hurt.
Kata has given me flavor and style and is much more important to me than sparring.
------------------
The Fighting Old Man
When I talk about fights, I'm talking about physically handling angry and aggressive teens, not serious criminal attacks -- but when I have had to do this, over the last 20 yrs, it is over before I can really plan a move or choose a move or think at all so I believe it is my kata training theat has given me the movement patterns and "go for it flow" that I use. I can't hardly spar at all, too much in my head, unless I just wait for an attack and then do something.
Oh, and tho my training has been hard style karate, I've never hit a client or kicked him, I've always gone into a takedown (soft) and holddown, while "mentioning" in his ear that now would be a good time to stop so no-one - read: him! - will get hurt.
Kata has given me flavor and style and is much more important to me than sparring.
------------------
The Fighting Old Man
Kata.
L.W.
I've been thinking about how to answer your question on the relevance of kata.
When I began training in Isshinryu, kata were things to practice but the techniques were not used for sparring. When I spent two years in Tang Soo Do Moo Duk Kwan, there was no difference there, either.
Without placing values on my instructors, as they were good students and were teaching as they themselves were trained, I had many questions how kata technique could be used and no one to turn to with the answers.
In that I had to move, the only way to keep training in Isshinryu was to begin teaching, likewise training as I was trained.
I spent considerable time training with others in many systems.
Along the way I found my own answer, and a number of traditional instructors with different viable answers, too.
First, by 'traditional' systems, you have not defined anything. There is extremely wide divergence as to what traditional systems means.
To the Okinawan stylist, Japanese systems aren't truly traditional as Karate didn't begin is migration to Japan untl the 1920's.
To the Chinese stylist, Okinawan systems aren't traditional, because they were modified from their
traditional Chinese sources.
To the Okinawan stylist, Korean systems aren't karate, even those with roots in the Japanese Arts (Generah Coi's Tae Kwon Do or Hwang Kee's Tang Soo Do Moo Duk Kwan).
And demonstrably Japanese and Korean arts were greatly varied from the Okinawan source arts.
Without great study, you cannot make a great many statements regarding the traditional karate arts, and speak meaningfully.
But rather than swap old tales, I'll get back to kata.
I was searching for the answer how karate and kata were linked together.
One answer lies in an Indonesian Shotokan stylist I trained with for 10 years. All of his sparring practice was based 100% on kata technique. Well actually a blend of Shotokan Karate, Early Aikido and Indonesian Tjimande.
The practice of his art was based on kata and basics till black belt. At that point a very long complex series of two person sets was introduced, all based on traditional technique, as well as their study of bunkai.
The Dan training that system gives truly develops a capability to use kata, in any dimension.
A number of years ago I met another instructor, in my system of Isshinryu, who has made such an extensive study of kata and bunkai, that he can show dozens and dozens of uses for every technique in our kata.
This forms a vastly different method to train the karate player, yet moves one towards the same goal to actually use the whole system in any environment.
I can cite other examples in diverse systems of students training in Hawrang do and friends teaching Faan Tzi Ying Jow Pai (Northern Eagle Claw). Each of which have unique training systems to fully use the
system.
In no way do I slight our Ueichi brothers and sisters. I know relatively little about their system, but that to which I've been exposed likewise makes me take their efforts very seriously.
Now there are many ways to teach someone how to fight. Methods which don't use kata are quite capable of creating effective combatants.
In my experience so are some of those who do use kata.
Who's better? I can't point a finger and give an answer. Each of us walks our own walk. Perhaps if we believe in the value of our efforts, that alone helps us make things so.
Are the traditional karate approaches best? Stepping aside the arts I practice, I can't answer that. I believe they can be very effective if one goes through the correct training program. I also believe those programs take time and great effort.
That's the way I choose.
Victor Smith
I've been thinking about how to answer your question on the relevance of kata.
When I began training in Isshinryu, kata were things to practice but the techniques were not used for sparring. When I spent two years in Tang Soo Do Moo Duk Kwan, there was no difference there, either.
Without placing values on my instructors, as they were good students and were teaching as they themselves were trained, I had many questions how kata technique could be used and no one to turn to with the answers.
In that I had to move, the only way to keep training in Isshinryu was to begin teaching, likewise training as I was trained.
I spent considerable time training with others in many systems.
Along the way I found my own answer, and a number of traditional instructors with different viable answers, too.
First, by 'traditional' systems, you have not defined anything. There is extremely wide divergence as to what traditional systems means.
To the Okinawan stylist, Japanese systems aren't truly traditional as Karate didn't begin is migration to Japan untl the 1920's.
To the Chinese stylist, Okinawan systems aren't traditional, because they were modified from their
traditional Chinese sources.
To the Okinawan stylist, Korean systems aren't karate, even those with roots in the Japanese Arts (Generah Coi's Tae Kwon Do or Hwang Kee's Tang Soo Do Moo Duk Kwan).
And demonstrably Japanese and Korean arts were greatly varied from the Okinawan source arts.
Without great study, you cannot make a great many statements regarding the traditional karate arts, and speak meaningfully.
But rather than swap old tales, I'll get back to kata.
I was searching for the answer how karate and kata were linked together.
One answer lies in an Indonesian Shotokan stylist I trained with for 10 years. All of his sparring practice was based 100% on kata technique. Well actually a blend of Shotokan Karate, Early Aikido and Indonesian Tjimande.
The practice of his art was based on kata and basics till black belt. At that point a very long complex series of two person sets was introduced, all based on traditional technique, as well as their study of bunkai.
The Dan training that system gives truly develops a capability to use kata, in any dimension.
A number of years ago I met another instructor, in my system of Isshinryu, who has made such an extensive study of kata and bunkai, that he can show dozens and dozens of uses for every technique in our kata.
This forms a vastly different method to train the karate player, yet moves one towards the same goal to actually use the whole system in any environment.
I can cite other examples in diverse systems of students training in Hawrang do and friends teaching Faan Tzi Ying Jow Pai (Northern Eagle Claw). Each of which have unique training systems to fully use the
system.
In no way do I slight our Ueichi brothers and sisters. I know relatively little about their system, but that to which I've been exposed likewise makes me take their efforts very seriously.
Now there are many ways to teach someone how to fight. Methods which don't use kata are quite capable of creating effective combatants.
In my experience so are some of those who do use kata.
Who's better? I can't point a finger and give an answer. Each of us walks our own walk. Perhaps if we believe in the value of our efforts, that alone helps us make things so.
Are the traditional karate approaches best? Stepping aside the arts I practice, I can't answer that. I believe they can be very effective if one goes through the correct training program. I also believe those programs take time and great effort.
That's the way I choose.
Victor Smith
Kata.
Wu Wei,
Thanks! I was planning to qoute from Mccarthy's translation of the Bubishi in which he comments extensivly on the merits of kata training, particularly the health benefits as opposed to the combative benefits. That is something us Karate "inferiors" may have over our Jujitsu brothers and sisters.
Thanks! I was planning to qoute from Mccarthy's translation of the Bubishi in which he comments extensivly on the merits of kata training, particularly the health benefits as opposed to the combative benefits. That is something us Karate "inferiors" may have over our Jujitsu brothers and sisters.
Kata.
Interesting discussion. I don't mean to take away from this forum, but the same discussion was going on in E-Budo with Patrick McCarthy recently with some interesting comments:
http://www.e-budo.com/ubb/Forum30/HTML/000101.html
http://www.e-budo.com/ubb/Forum30/HTML/000101.html
-
Bill Glasheen
- Posts: 17299
- Joined: Thu Mar 11, 1999 6:01 am
- Location: Richmond, VA --- Louisville, KY
Kata.
Do not be confused by the buffoon on the stage; the man behind the curtain is an imposter. Jiu-jitsu is a worthy martial endeavor. Several of our Uechi brethren are jiu-jitsu instructors, and at least one is master status.
Any grappling master worth his salt that I have met spoke best on the mat - not behind a keyboard.
- Bill
Any grappling master worth his salt that I have met spoke best on the mat - not behind a keyboard.
- Bill
Kata.
I hope I did not imply any slight towards Jujitsu! I see the merits of such training, in fact I am seeking a traditional Jujitsu school right now! After having been impressed by all the discussions with various judo and jujitsuka on these pages I have been researching the subject a bit. I want to learn those two person sets they call kata, the joint locks, throws, sweeps, etc.
My post was meant to point out the unique benefits of solo forms, one of which is health - maybe even increased chi flow!
Since to my knowledge Jujitsuka do not practice solo forms, I jumped to the conclusion that we(folks who practice solo forms) are harvesting a crop that they(those who don't) are not. Thats all. No slight intended! Sorry if it looked that way folks. I have known a few Judoka in my day, and was very impressed with thier ability to get me out of my sanchin stance while "playing".
The SHEEP in wolf's clothing does not fool me Bill-Sensei.
My post was meant to point out the unique benefits of solo forms, one of which is health - maybe even increased chi flow!
Since to my knowledge Jujitsuka do not practice solo forms, I jumped to the conclusion that we(folks who practice solo forms) are harvesting a crop that they(those who don't) are not. Thats all. No slight intended! Sorry if it looked that way folks. I have known a few Judoka in my day, and was very impressed with thier ability to get me out of my sanchin stance while "playing".The SHEEP in wolf's clothing does not fool me Bill-Sensei.
Kata.
This is a good topic, no matter who started it for what reason! I will not be detered from discussing what I believe are the relevant issues.
In the begining.... it has been said that the masters of old learned how to fight FIRST, before they learned kata. They learned thier self defense skills first, then kata to help remember/hardwire responses to certain common acts of aggression. Why? Could this be because time was limited? Or because most students learned MA at a young age for about 5-10 years, then had to move or go into the army or whatever? Or because if you did real all-out sparring on a weekly or daily basis you would always be nursing injuries? ( I think we all DO know people who train like that - they are always hurt in some way and never really "battle ready". ) Just wondering why.....
In the begining.... it has been said that the masters of old learned how to fight FIRST, before they learned kata. They learned thier self defense skills first, then kata to help remember/hardwire responses to certain common acts of aggression. Why? Could this be because time was limited? Or because most students learned MA at a young age for about 5-10 years, then had to move or go into the army or whatever? Or because if you did real all-out sparring on a weekly or daily basis you would always be nursing injuries? ( I think we all DO know people who train like that - they are always hurt in some way and never really "battle ready". ) Just wondering why.....
Kata.
I believe, though I could be wrong, that before the "Bridging Kata's were introduced, all a person learned was the warm-up exercises, Sanchin and Koetiki Tae (sp?) until shodan. Once a person hit Shodan they were taught Seisan. Talk about dedication, only body conditioning and Sanchin for five years!
Kata.
Excellent topic and great information. I was recently introduced to a groundfighting school and will be attending the class to augment my tradional karate training so hopefully I'll be able to see some of the lost kata techniques. Plus the fighting at my Goju School my not have much groundfighting other than "ground and pound" we do fight hard and I am confident that the skills I have obtained will help me in a streetfight if the techniques won't but we'll see I'm sure.
Kata.
Dear all
Just Thought I'd put my two pennith worth in to this interesting topic!
Solo forms (Kata) make up the backbone of most traditional empty hand arts whether they are Chinese, Japanese or Korean. When studying the Kata with a view to looking for the similarities instead of the differences, it becomes easy to recognise the similar movements contained within the forms.
Most serious martial artists now accept that solo forms were conceived by Buddhist and Taoist monks and nuns from the original (pre 1644) Shaolin Temple. This is the reason for the similarities.
The differences between the respective arts and styles have come about due to a lack of understanding of the purpose of these solo forms. The reasons for this are as follows:
Almost without exception, all of the current arts practiced today have disassociated with the spiritual wisdom that was responsible for the solo forms being created in the first place.
The Kata were created as part of a wordless gesture and transmitted through direct experience. Therefore there was no written material. The creators realized that the art could not be expressed in words.
It was for this reason that they devised Kata to preserve and transmit the essential rituals that contain spiritual wisdom and skills through a coded universal language. Only those that practice the Kata for it’s true purpose can understand this language.
Throughout history right up to the present day, the art has adapted and evolved to suit cultural needs. Even within these cultures, different arts and styles evolved due to the different intentions of the personalities of those who created them.
Unfortunately, this lack of understanding has relegated the status of the art. Most arts are now practiced as competitive sport or for utilitarian self-defense. Whilst both of these intentions seem admirable in themselves, the problem is that fashion dictates form. Those who practice for competition have tended to become more gymnastic and spectacular, to catch the judges eye. Trying to make the movement’s fit street situations inevitably frustrates those who practice for self-defence. They are in essence, feeding their fears and egos, the complete opposite of the original purpose of transcending fear and ego.
If these latter day masters truly understood the wisdom and intention of the Kata, none of these changes would have been possible.
To help identify the antique Kata, the following criteria should be applied.
1. Buddhist or Taoist origins. Buddhist, titles of postures.
2. The use of esoteric numerology. There are at least three Karate Kata named after the number of steps 27, 54 and 108, all of which are Buddhist esoteric numbers.
3. Simplicity of movement with a repeated theme.
4. Footwork that moves through straight lines or oblique lateral angles.
5. Close observance to good posture i.e. Straight back and neck, level shoulders and hips. Always employing stances, postures and movements that are within the natural range.
6. Few kicks, if any, which are always kept low.
Gassho
Terry
Just Thought I'd put my two pennith worth in to this interesting topic!
Solo forms (Kata) make up the backbone of most traditional empty hand arts whether they are Chinese, Japanese or Korean. When studying the Kata with a view to looking for the similarities instead of the differences, it becomes easy to recognise the similar movements contained within the forms.
Most serious martial artists now accept that solo forms were conceived by Buddhist and Taoist monks and nuns from the original (pre 1644) Shaolin Temple. This is the reason for the similarities.
The differences between the respective arts and styles have come about due to a lack of understanding of the purpose of these solo forms. The reasons for this are as follows:
Almost without exception, all of the current arts practiced today have disassociated with the spiritual wisdom that was responsible for the solo forms being created in the first place.
The Kata were created as part of a wordless gesture and transmitted through direct experience. Therefore there was no written material. The creators realized that the art could not be expressed in words.
It was for this reason that they devised Kata to preserve and transmit the essential rituals that contain spiritual wisdom and skills through a coded universal language. Only those that practice the Kata for it’s true purpose can understand this language.
Throughout history right up to the present day, the art has adapted and evolved to suit cultural needs. Even within these cultures, different arts and styles evolved due to the different intentions of the personalities of those who created them.
Unfortunately, this lack of understanding has relegated the status of the art. Most arts are now practiced as competitive sport or for utilitarian self-defense. Whilst both of these intentions seem admirable in themselves, the problem is that fashion dictates form. Those who practice for competition have tended to become more gymnastic and spectacular, to catch the judges eye. Trying to make the movement’s fit street situations inevitably frustrates those who practice for self-defence. They are in essence, feeding their fears and egos, the complete opposite of the original purpose of transcending fear and ego.
If these latter day masters truly understood the wisdom and intention of the Kata, none of these changes would have been possible.
To help identify the antique Kata, the following criteria should be applied.
1. Buddhist or Taoist origins. Buddhist, titles of postures.
2. The use of esoteric numerology. There are at least three Karate Kata named after the number of steps 27, 54 and 108, all of which are Buddhist esoteric numbers.
3. Simplicity of movement with a repeated theme.
4. Footwork that moves through straight lines or oblique lateral angles.
5. Close observance to good posture i.e. Straight back and neck, level shoulders and hips. Always employing stances, postures and movements that are within the natural range.
6. Few kicks, if any, which are always kept low.
Gassho
Terry
